PIT vs UCS vs Magnet
- Thread starter Saul
- Start date
Having studied at all three theaters:
Armando is the best teacher. He's like not human. But there are plenty of other great ones.
I found myself in Pat Shay's class at the PIT. Pat is one of those people I believe in.
I made major progress studying with Billy Merritt at UCB also.
And Louis Kornfeld at Magnet opened me up to a school of improv that valued all the traditional elements of theatre and didn't rely on exposition, whackiness or GAME (I despise game with a passion).
I wouldn't call them Gods like the names above, but Alex Marino and Peter McNerney both opened me up to looking at improv in new and exciting ways. I just started with James Eason, but I get the same feeling from him.
Here are the ones who were also great:
PIT: Kurt Braunohler, Matt Donnelly, Rebekka Johnson
UCB: Kevin Hines, Shannon O'Neill (sp?, sorry Shannon), Neil Casey, Gavin Speiller
MAG: Tara Copeland (everyone should take a class with her), Rachel Hamilton, Blaine Swen
I didn't have a great time in Joe Wengert's class, largely due to philosophical differences. I like Joe a lot personally and he was very accommodating of the fact that we had differing dispositions, once he realized, which I think takes a lot of fortitude. I admire him for it.
I had a bad experience with Ali Faranahkian. He actually taught me some useful stuff, but some of what he has to say, I feel, is destructive. I also found him difficult to get along with on a personal level, as I think he found me.
And my worst experience was with Anthony King. I'm sure that'll prevent me from ever getting on a harold team, but I don't care. I felt Anthony was solipsistic about performing and closed-minded about what improv was, could only suggest we think the way he did and made the moves he did. Several of the points he made about improv, which I agree with in the context of improv, he would use to describe "comedy." I strongly disagreed with several of them. I have avoided UCB somewhat as a result since then, which is really a shame. His class and philosophy just left such a bitter taste in my mouth. I feel like I made backwards progress in it.
I've also had Gil Ozeri as a substitute and Brandon Gardner as a coach. Both have GREAT things to say that are unique to them and I high recommend both of them. Both are also great guys.
I don't mean to step on any toes. I've had mostly good experiences at all three theaters. I personally think Magnet is the bees knees, particularly if you want to get into the wider world of narrative film and television, but I learned valuable things at the other two as well.
I hope no one will hold it against me for honestly stating my preferences and experiences. I don't want to step on anyone's toes, but there's a point where honest information must be conveyed.
Armando is the best teacher. He's like not human. But there are plenty of other great ones.
I found myself in Pat Shay's class at the PIT. Pat is one of those people I believe in.
I made major progress studying with Billy Merritt at UCB also.
And Louis Kornfeld at Magnet opened me up to a school of improv that valued all the traditional elements of theatre and didn't rely on exposition, whackiness or GAME (I despise game with a passion).
I wouldn't call them Gods like the names above, but Alex Marino and Peter McNerney both opened me up to looking at improv in new and exciting ways. I just started with James Eason, but I get the same feeling from him.
Here are the ones who were also great:
PIT: Kurt Braunohler, Matt Donnelly, Rebekka Johnson
UCB: Kevin Hines, Shannon O'Neill (sp?, sorry Shannon), Neil Casey, Gavin Speiller
MAG: Tara Copeland (everyone should take a class with her), Rachel Hamilton, Blaine Swen
I didn't have a great time in Joe Wengert's class, largely due to philosophical differences. I like Joe a lot personally and he was very accommodating of the fact that we had differing dispositions, once he realized, which I think takes a lot of fortitude. I admire him for it.
I had a bad experience with Ali Faranahkian. He actually taught me some useful stuff, but some of what he has to say, I feel, is destructive. I also found him difficult to get along with on a personal level, as I think he found me.
And my worst experience was with Anthony King. I'm sure that'll prevent me from ever getting on a harold team, but I don't care. I felt Anthony was solipsistic about performing and closed-minded about what improv was, could only suggest we think the way he did and made the moves he did. Several of the points he made about improv, which I agree with in the context of improv, he would use to describe "comedy." I strongly disagreed with several of them. I have avoided UCB somewhat as a result since then, which is really a shame. His class and philosophy just left such a bitter taste in my mouth. I feel like I made backwards progress in it.
I've also had Gil Ozeri as a substitute and Brandon Gardner as a coach. Both have GREAT things to say that are unique to them and I high recommend both of them. Both are also great guys.
I don't mean to step on any toes. I've had mostly good experiences at all three theaters. I personally think Magnet is the bees knees, particularly if you want to get into the wider world of narrative film and television, but I learned valuable things at the other two as well.
I hope no one will hold it against me for honestly stating my preferences and experiences. I don't want to step on anyone's toes, but there's a point where honest information must be conveyed.
Bits aside I think it doesn't hurt to include a short serious answer just because...
Armando Diaz, Billy Merritt, Michael Delaney.
Those are my three all time favorite instructors thus far in my short time in the NYC improv scene (since '05).
Billy for getting me out of my head, and forcing me to think outside of the box. Why not do an inanimate object/animal Harold? Also, how to do and practice purely genius object work.
Delaney for calling me out on not being real in my scenes, and challenging me to be as good an actor on stage as I can possibly be.
Armando for teaching me how to process what my scene partner is telling me and truly react with a strong point of view. Not to mention, I don' think any instructor gets you on your feet as often in a 3 hour session. You can really learn by doing with him.
There are so many other great teachers in NYC, I encourage you (the global you) to study with as many as you can. And revisit the truly great ones as often as you can afford.
Armando Diaz, Billy Merritt, Michael Delaney.
Those are my three all time favorite instructors thus far in my short time in the NYC improv scene (since '05).
Billy for getting me out of my head, and forcing me to think outside of the box. Why not do an inanimate object/animal Harold? Also, how to do and practice purely genius object work.
Delaney for calling me out on not being real in my scenes, and challenging me to be as good an actor on stage as I can possibly be.
Armando for teaching me how to process what my scene partner is telling me and truly react with a strong point of view. Not to mention, I don' think any instructor gets you on your feet as often in a 3 hour session. You can really learn by doing with him.
There are so many other great teachers in NYC, I encourage you (the global you) to study with as many as you can. And revisit the truly great ones as often as you can afford.
bluvband's level one was pretty helpful, but he sounded really soporific at times. and it was $900. and i know he didn't need to rent a space because we did it next to the harlem meer in central park. i dunno, i probably won't ever get onto a bluvband team because of this post, but I don't care. i have another improv theatre that's going to help me with my career more; alan starskinski broadway chuckle collective!
